PRINTED FROM CHICAGO SCHOLARSHIP ONLINE (www.chicago.universitypressscholarship.com). (c) Copyright University of Chicago Press, 2020. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CHSO for personal use.date: 07 June 2020

“He Says No, Your Worship”

“He Says No, Your Worship”

Joyce, Free Indirect Discourse, and Vernacular Modernism

Chapter:

(p.79)
Chapter 3 “He Says No, Your Worship”

Source:

Joyce'S Ghosts

Author(s):

Luke Gibbons

Publisher:

University of Chicago Press

DOI:10.7208/chicago/9780226236209.003.0003

Fredric Jameson has noted that one of the anomalies of modernism is that it does not always emerge in the advanced modernity of the metropolis, but sometimes travels in from the periphery to the center. This is particularly the case under colonialism, where the pressures of Ireland's proximity to Britain produce a culture at once inside, and yet outside, the imperial world system. It is in this sense that Joyce's Irishness contributed not only to his subjective matter, but also to his most distinctive experiments in form and style. Joyce's socially inflected use of free indirect style brings narrative into dialogue not only with inner life (as in the metropolitan center), but also with the dialect of the tribe, the idioms of an excluded culture. Though Joyce's modernist innovations are often attributed to his European exile, his vernacular modernism is also indebted to his engagement with Hiberno-English, and the struggle for articulation of the dual voice in nineteenth-century Irish fiction. His breakthroughs in free indirect style pick up from the early modernism of his Irish precursor George Moore, as well as the innovations of French writers such as Édouard Dujardin.

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PRINTED FROM CHICAGO SCHOLARSHIP ONLINE (www.chicago.universitypressscholarship.com). (c) Copyright University of Chicago Press, 2020. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CHSO for personal use.date: 07 June 2020